Begun in 1871-72 but left unfinished, this haunting scene depicts a Norman peasant family in their farmyard. It embodies a primitivism which may draw upon Egyptian sculpture and Quattrocento paintings seen by Millet in the Louvre. The British painter Sickert commented: 'The sublime man and his stolid spouse face the spectator with all the gravity and symmetry of two caryatids, while the child essays, a baby Samson, the strength of the pillars of his house'. Margaret Davies purchased this work in 1911.
